Paramount’s new widescreen ape is, comparatively, as menacing as a big, fluffy sheep dog. At least the original had Kong chew up an occasional native or subway rider. So much effort goes into making the monster lovable and, most importantly, pitiable, that we forget how terrified we are supposed to be. Kong has got to be, and probably is, any or all of these things, because as a monster film, it certainly doesn’t cut the mustard. Writing in National Review, Hugh Kenner went so far as to expose Kong as a remake of Milton’s “Paradise Lost.“ Thus far, among the things, he has been called symbol of mankind’s rape of natural resources, a political foreshadowing of a coming world war, and the personification of that real-life monster, the American city. This review appeared in the Januedition of Critiques, the arts supplement to the Rutgers Daily Targumīy the time you read this, enough copy will already have been written about Dino DeLaurnetiis’ production of King Kong to keep the magnificent monkey himself buried in typewriter ribbons. Writer: James Ashmore Creelman (Based on 1933 screenplay) Stars: Jeff Bridges, Charles Grodin, Jessica Lange Kong enjoys some private time with Jessica Lange
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